1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:01:22,360 --> 00:01:24,440 Clapperboard, please. 4 00:01:24,520 --> 00:01:26,960 Serata America, interview with Leone. 5 00:01:27,040 --> 00:01:28,280 One, first. 6 00:01:28,880 --> 00:01:32,000 One moment. Good. 7 00:01:34,880 --> 00:01:39,800 Cinema for me is above all a big show 8 00:01:39,880 --> 00:01:44,480 where events of the masked life are proposed. 9 00:01:52,880 --> 00:01:55,560 It is a vehicle for recounting one’s own experiences 10 00:01:55,640 --> 00:01:58,640 historical, or psychological experiences 11 00:02:00,640 --> 00:02:02,840 always through the fable and the myth 12 00:02:02,920 --> 00:02:04,560 through the show. 13 00:02:11,240 --> 00:02:12,960 I was born in cinema. 14 00:02:13,040 --> 00:02:17,040 I live on cinema, I read cinema, I see cinema. 15 00:02:17,120 --> 00:02:19,680 For me, cinema is life and vice versa. 16 00:02:23,080 --> 00:02:28,880 How can one forget the world of childhood? 17 00:02:30,240 --> 00:02:32,960 All my films are permeated with these feelings 18 00:02:33,040 --> 00:02:35,560 from "A fistful of dollars" to "Once upon a time in the west". 19 00:02:35,640 --> 00:02:40,600 After all, in my films, the world is judged by children. 20 00:03:10,360 --> 00:03:13,440 Do you see those little pillars up there? 21 00:03:13,520 --> 00:03:14,680 They didn't used to be there. 22 00:03:15,080 --> 00:03:17,280 Instead of columns, there were us 23 00:03:18,960 --> 00:03:21,880 10- to 12-year-old boys with big paddles 24 00:03:21,960 --> 00:03:26,240 coming down like Taboga at 50 to 60 kilometers per hour. 25 00:03:26,320 --> 00:03:30,720 A blue avalanche finding down then unwelcome guests. 26 00:03:30,800 --> 00:03:32,920 The neighborhood was swarming with Germans. 27 00:03:33,000 --> 00:03:36,240 This is '42/'45. My first western. 28 00:05:20,200 --> 00:05:23,400 I can say that I was born almost on a movie set 29 00:05:23,520 --> 00:05:26,840 because my mother was a young actress with Galli. 30 00:05:27,720 --> 00:05:28,920 When I was a child 31 00:05:29,000 --> 00:05:31,120 my father was making his last film 32 00:05:31,200 --> 00:05:34,080 after many years of absence due to fascism. 33 00:05:34,160 --> 00:05:35,920 He was an anti-fascist 34 00:05:36,000 --> 00:05:37,920 and therefore was politically persecuted. 35 00:05:54,720 --> 00:05:57,520 He was the favorite director of Francesca Bertini 36 00:05:57,560 --> 00:05:59,840 who was the star of Italian cinema 37 00:05:59,920 --> 00:06:01,800 and for a few years the star of world cinema. 38 00:06:01,880 --> 00:06:07,520 He direct Bice Waleran who would later become his wife 39 00:06:07,600 --> 00:06:10,200 also a great silent film diva. 40 00:06:10,280 --> 00:06:12,760 When Italian cinema began to go into crisis 41 00:06:12,840 --> 00:06:16,600 Vincenzo Leone or Roberto Roberti directed 42 00:06:16,680 --> 00:06:19,400 some of the most spectacular Italian films of the 1920s 43 00:06:19,480 --> 00:06:20,800 such as "Fra' Diavolo". 44 00:06:22,440 --> 00:06:26,280 Vincenzo Leone wanted to make a popular cinema 45 00:06:26,360 --> 00:06:30,840 accessible to everyone and ennobled by that. 46 00:06:30,920 --> 00:06:32,280 I have the impression 47 00:06:32,360 --> 00:06:39,120 that Sergio walked on the same path of his father. 48 00:06:39,200 --> 00:06:41,960 The only time I saw Sergio on the brink of speaking 49 00:06:42,040 --> 00:06:43,160 in tears 50 00:06:43,240 --> 00:06:44,760 was when he was talking about his father. 51 00:06:48,520 --> 00:06:54,280 A film festival of old Italian films was taking place. 52 00:06:54,360 --> 00:06:58,320 One of his father's movie was playing in another room. 53 00:06:58,400 --> 00:07:00,040 He left the room, he went to see his father's film 54 00:07:00,120 --> 00:07:01,240 and didn't want to talk afterwards. 55 00:07:01,320 --> 00:07:02,440 He left in tears. 56 00:07:04,720 --> 00:07:08,440 I was born with my father's frustration 57 00:07:08,520 --> 00:07:10,600 of not doing what he wanted to do 58 00:07:10,680 --> 00:07:12,480 however, living on cinema from morning to night 59 00:07:12,560 --> 00:07:16,280 talking about movies, he would vent to me. 60 00:07:17,760 --> 00:07:21,040 So, when I turned 14, at first 61 00:07:21,120 --> 00:07:26,560 I had a total aversion to this environment, this craft. 62 00:07:27,600 --> 00:07:31,560 When my father decided to retire 63 00:07:31,640 --> 00:07:36,320 to the hometown of Torrella dei Lombardi in Irpinia 64 00:07:36,400 --> 00:07:41,360 I strangely felt a great urge to continue what he was doing. 65 00:07:41,440 --> 00:07:46,600 It came upon me almost as an obligation. 66 00:08:01,720 --> 00:08:05,800 THE COLOSSUS OF RHODES 67 00:08:07,120 --> 00:08:13,200 He understood that his way was the epic film 68 00:08:13,280 --> 00:08:17,080 the movies about the absolute hero protagonist. 69 00:08:20,920 --> 00:08:23,920 I want to debunk a concept. 70 00:08:24,000 --> 00:08:27,960 "The Colossus of Rhodes" is an ironic film. 71 00:08:29,400 --> 00:08:32,080 The character is a playboy. 72 00:08:34,840 --> 00:08:38,120 - What is this perfume? - Roses, my grandson. 73 00:08:38,680 --> 00:08:40,960 Rhodes is also the island of roses. 74 00:08:41,040 --> 00:08:42,880 And of beautiful women, I see. 75 00:08:42,960 --> 00:08:44,920 From the set photos we have 76 00:08:45,000 --> 00:08:48,160 we can see he's already the master of the set. 77 00:08:54,160 --> 00:08:57,720 I really dictated the epic comedy genre. 78 00:10:45,840 --> 00:10:48,760 Clint Eastwood was a swimming instructor. 79 00:10:48,840 --> 00:10:52,480 Then, for many years he had been the second actor 80 00:10:52,560 --> 00:10:55,840 in a western series called "Rawhide". 81 00:10:59,840 --> 00:11:01,840 When they sent him to me 82 00:11:01,920 --> 00:11:05,360 to see one of these subjects, "The Black Sheep" 83 00:11:05,440 --> 00:11:07,880 he did not speak, he did not say a word. 84 00:11:17,560 --> 00:11:19,480 I wrote the script in 15 days. 85 00:11:20,560 --> 00:11:25,480 It all started with my viewing of "Yojimbo". 86 00:11:29,000 --> 00:11:32,560 The thing that intrigued me most about 'Yojimbo' was the fact 87 00:11:32,640 --> 00:11:34,440 that it had been taken from an American novel 88 00:11:34,520 --> 00:11:36,000 a mystery series. 89 00:11:43,560 --> 00:11:49,400 Kurosawa had transported the idea to his samurai. 90 00:11:49,520 --> 00:11:56,560 I wanted to bring this idea back. 91 00:12:45,640 --> 00:12:49,880 The thing that struck me about this boy was his indolence. 92 00:12:52,240 --> 00:12:54,040 He was a real cat-man, born lazy. 93 00:12:54,120 --> 00:12:59,560 He seemed to sleep as he walked. 94 00:13:01,080 --> 00:13:03,760 But then, when it was time 95 00:13:03,840 --> 00:13:10,320 he gained a curious speed and dynamics. 96 00:13:11,200 --> 00:13:15,280 This gave me a very specific cliché 97 00:13:15,360 --> 00:13:17,000 a charm to the character. 98 00:13:37,880 --> 00:13:42,240 The work he is able to do on Eastwood is wonderful. 99 00:13:42,320 --> 00:13:45,760 If Eastwood had been remained the one of American cinema 100 00:13:45,840 --> 00:13:48,280 he might never have become Clint. 101 00:13:49,000 --> 00:13:51,360 He took away that divine aspect 102 00:13:51,440 --> 00:13:54,800 that made him utterly improbable. 103 00:13:57,600 --> 00:13:59,440 Greetings, my friend. 104 00:13:59,520 --> 00:14:02,600 He made him a God among men. 105 00:14:07,880 --> 00:14:10,640 He managed to bring and transfer the Roman indolence 106 00:14:10,720 --> 00:14:15,640 inside Clint Eastwood's body, in the attitudes, the mannerisms 107 00:14:15,720 --> 00:14:17,080 that being sly 108 00:14:17,160 --> 00:14:21,160 and at the same time awake, cunning, smart. 109 00:14:26,480 --> 00:14:30,680 - Ciak, first. - Montaldo. - Here I am. 110 00:14:32,920 --> 00:14:35,400 I was in the Papi-Colombo film 111 00:14:35,520 --> 00:14:39,160 because I had to make my first film with them. 112 00:14:39,240 --> 00:14:41,640 My debut was in the room 113 00:14:41,720 --> 00:14:43,760 where the two producers had their studio. 114 00:14:43,840 --> 00:14:45,160 I heard noises. 115 00:14:52,120 --> 00:14:55,160 Noises and voices. At one point, I hear making… 116 00:14:55,720 --> 00:14:57,360 And then, here they come. 117 00:15:00,000 --> 00:15:02,960 It was Sergio Leone 118 00:15:03,040 --> 00:15:07,920 telling the producers about the movie with the shooting. 119 00:15:08,000 --> 00:15:11,800 The beauty and charm with which he told things were impressive. 120 00:15:29,680 --> 00:15:34,800 A FISTFUL OF DOLLARS 121 00:16:25,000 --> 00:16:27,040 The idea was 122 00:16:27,120 --> 00:16:29,160 Harlequin serves the two masters. 123 00:16:48,720 --> 00:16:52,320 He puts himself in the middle 124 00:16:52,400 --> 00:16:55,680 and sells himself to one and the other 125 00:16:55,760 --> 00:16:57,080 without the two knowing it 126 00:16:57,160 --> 00:16:58,840 and turning them against each other. 127 00:18:02,360 --> 00:18:05,760 In Ford's films, when an actor opens the window 128 00:18:05,840 --> 00:18:09,880 it is always to look at the immense future ahead. 129 00:18:09,960 --> 00:18:11,880 In mine, when they open the window 130 00:18:11,960 --> 00:18:13,760 they only have the terror and the fear 131 00:18:13,840 --> 00:18:15,160 of getting shot between the eyes. 132 00:18:36,040 --> 00:18:38,400 The movie was released in Florence. 133 00:18:38,520 --> 00:18:42,720 On Friday gained 600,000 liras, 800 on Saturday 134 00:18:43,520 --> 00:18:45,440 a million and three on Sunday. 135 00:18:45,520 --> 00:18:48,440 On Monday, it was expected 100,000 liras. 136 00:18:48,520 --> 00:18:51,680 It made a million and a half. The myth had arrived in Rome. 137 00:21:42,440 --> 00:21:46,440 For me, the west is mostly fairy tales and fantasy. 138 00:21:47,520 --> 00:21:49,600 There are historical characters, 139 00:21:49,680 --> 00:21:53,320 but they are also linked to myth, legend, fairy tale. 140 00:23:38,960 --> 00:23:45,360 THE BAD 141 00:24:04,720 --> 00:24:08,880 THE UGLY 142 00:26:11,000 --> 00:26:14,600 My latest film "The Good the Bad, and the Ugly" 143 00:26:15,600 --> 00:26:22,960 is an epic picaresque western 144 00:26:23,040 --> 00:26:25,400 because it's the story 145 00:26:25,520 --> 00:26:29,640 of 3 magnificent and sympathetic rogues 146 00:26:29,720 --> 00:26:34,520 set in the context of the Civil War. 147 00:29:49,240 --> 00:29:54,360 He used to take us with him. 148 00:29:54,440 --> 00:29:58,080 He had a passion for us. 149 00:29:58,160 --> 00:29:59,520 There was a feeling 150 00:29:59,560 --> 00:30:02,760 that family was above everything else. 151 00:30:07,880 --> 00:30:13,440 I have just some childhood memories. 152 00:30:17,560 --> 00:30:20,320 I remember these deserted, dusty lands 153 00:30:20,400 --> 00:30:23,120 where there were no children, only adults. 154 00:30:23,200 --> 00:30:26,320 We had to be quiet because he was shooting. 155 00:30:26,400 --> 00:30:28,600 For a child, it was a very boring thing. 156 00:30:33,360 --> 00:30:35,960 I have beautiful memories. 157 00:30:36,040 --> 00:30:40,960 For a child, being brought on a set is a fantastic game. 158 00:30:41,040 --> 00:30:44,360 The greatest joy was being dressed 159 00:30:44,440 --> 00:30:46,320 to play extras in the film. 160 00:30:49,520 --> 00:30:52,120 He had a strong bond with the family. 161 00:30:52,200 --> 00:30:56,640 Having spent many months at home before shooting "Un sacco bello" 162 00:30:56,720 --> 00:30:59,400 I saw the relationship between him, his wife and his children. 163 00:30:59,480 --> 00:31:00,720 He was in love 164 00:31:00,800 --> 00:31:04,640 with his two daughters, Andrea and his wife Carla. 165 00:31:04,720 --> 00:31:07,000 It was a lovely family. 166 00:31:11,560 --> 00:31:17,240 People in Dad’s crew often came over our house 167 00:31:17,320 --> 00:31:19,400 they were friends. 168 00:31:19,480 --> 00:31:22,920 There wasn't a shocking impact of being in a strange place 169 00:31:23,000 --> 00:31:24,480 it was a familiar place. 170 00:31:28,360 --> 00:31:31,040 For me, it was a great game, a nice journey. 171 00:31:31,120 --> 00:31:34,320 It was a way to get together on vacation. 172 00:31:34,400 --> 00:31:38,200 It was a different vacation from those of my friends 173 00:31:38,280 --> 00:31:43,920 who had a quieter and normal life. 174 00:34:04,880 --> 00:34:06,400 In Libération, about 30 years ago, 175 00:34:06,480 --> 00:34:07,600 there was a questionnaire. 176 00:34:07,680 --> 00:34:10,800 It was asked to 200 directors, or something like that. 177 00:34:10,880 --> 00:34:12,880 The question was: "Why do you shoot?" 178 00:34:12,960 --> 00:34:15,880 One answer that stood out for me was that of David Lynch 179 00:34:15,960 --> 00:34:19,600 who replied, "To create universes and see if it works." 180 00:34:19,680 --> 00:34:23,000 "For me, Sergio Leone creates a universe and it works". 181 00:39:07,480 --> 00:39:14,360 We are here working on the research of two motifs 182 00:39:14,440 --> 00:39:20,080 for my last film called "Duck, You Sucker!" 183 00:39:20,160 --> 00:39:24,720 Dad had landmarks from which he would never deviate. 184 00:39:30,640 --> 00:39:34,360 You could tell him the coolest singer in the world was there 185 00:39:34,440 --> 00:39:36,960 he would say, "He can do a song, but Ennio does the soundtrack". 186 00:39:37,040 --> 00:39:39,280 There was no discussion. 187 00:39:39,360 --> 00:39:42,800 I remember, when I made my first film 188 00:39:42,880 --> 00:39:44,640 "For a Fistful of Dollars" 189 00:39:44,720 --> 00:39:47,600 I didn't want Ennio Morricone, because I didn't know him 190 00:39:47,680 --> 00:39:51,400 I was used to working with another musician. 191 00:39:51,520 --> 00:39:53,680 We met two days later 192 00:39:53,760 --> 00:39:57,280 because the producers wanted us to meet. 193 00:39:57,360 --> 00:40:00,720 And at that moment, we recognized each other. 194 00:40:00,800 --> 00:40:07,320 Now I think we have to work, my dear friend Ennio. 195 00:40:07,400 --> 00:40:10,000 Let's go in. 196 00:40:11,080 --> 00:40:14,800 They were in complete harmony. 197 00:40:23,800 --> 00:40:25,120 Dad and Ennio were working 198 00:40:25,200 --> 00:40:27,760 on the score of ''Duck, You Sucker!". 199 00:40:27,840 --> 00:40:30,080 Ennio plays something and Dad says 200 00:40:30,160 --> 00:40:31,800 "Yes, but make it a bit sweeter here". 201 00:40:36,720 --> 00:40:43,320 Make it a bit sweeter, it's about kids. 202 00:40:43,400 --> 00:40:47,000 There was an all-around collaboration 203 00:40:47,080 --> 00:40:51,080 they were birthing it together. 204 00:41:00,880 --> 00:41:04,240 This is the perfect fusion. 205 00:41:05,560 --> 00:41:09,040 I remember Sergio when we were in third grade. 206 00:41:09,120 --> 00:41:10,560 Then he disappeared 207 00:41:10,640 --> 00:41:12,560 because he changed school the next year 208 00:41:12,640 --> 00:41:15,520 so I never saw him again until many years after that 209 00:41:15,560 --> 00:41:17,720 when he asked me to do the soundtrack 210 00:41:17,800 --> 00:41:19,520 for "A Fistful of Dollars". 211 00:41:24,000 --> 00:41:26,320 I made that film very willingly. 212 00:41:26,400 --> 00:41:31,720 I had an idea in mind and I developed it. 213 00:41:33,680 --> 00:41:37,720 The whistle and the instruments that accompanied the whistle 214 00:41:37,800 --> 00:41:41,680 were fancy and had nothing to do with it 215 00:41:42,640 --> 00:41:44,880 weird percussion. 216 00:42:16,720 --> 00:42:18,800 In all of Sergio's films 217 00:42:18,880 --> 00:42:25,400 I've changed the physiognomy of the music every time. 218 00:42:29,080 --> 00:42:31,360 The music box in the second film 219 00:42:32,000 --> 00:42:34,880 was part of the script, of the story. 220 00:42:34,960 --> 00:42:38,880 However, it was not always in the scene. 221 00:42:38,960 --> 00:42:43,520 When it was filmed without the music box in the scene 222 00:42:44,360 --> 00:42:48,400 it became an abstract thing. 223 00:43:12,280 --> 00:43:18,240 It was important that it took this aspect of sound 224 00:43:18,320 --> 00:43:21,280 in relation to history. 225 00:43:21,360 --> 00:43:23,520 In "Once upon a time in the West" 226 00:43:23,560 --> 00:43:27,440 the harmonica becomes the protagonist. 227 00:43:50,440 --> 00:43:52,200 He found out 228 00:43:53,000 --> 00:43:55,960 that when an instrument makes sounds 229 00:43:56,040 --> 00:43:59,400 in the reality of the image 230 00:43:59,480 --> 00:44:03,840 and we hear it again without it being in the image 231 00:44:03,920 --> 00:44:07,920 this instrument becomes a fundamental evocation 232 00:44:08,000 --> 00:44:10,880 that cooperates with the meanings of the film. 233 00:44:17,720 --> 00:44:20,440 This was an important stunt of his. 234 00:46:07,120 --> 00:46:13,720 That was very kind of him. I didn't do the scripts. 235 00:46:13,800 --> 00:46:18,200 He meant that the meaning of the music 236 00:46:18,280 --> 00:46:23,840 behind the pictures and the realistic sounds of the film 237 00:46:23,920 --> 00:46:29,240 it meant quite as much as the dialogue could mean 238 00:46:29,320 --> 00:46:31,960 something more than the dialogue 239 00:46:32,040 --> 00:46:36,240 the abstract interpretation of words. 240 00:46:51,000 --> 00:46:53,720 Sergio's films were so good 241 00:46:53,800 --> 00:46:55,600 that they held even inferior music 242 00:46:55,680 --> 00:46:56,960 than the ones I wrote. 243 00:47:02,960 --> 00:47:05,280 The music is not part of the film 244 00:47:05,360 --> 00:47:07,520 it interprets the film 245 00:47:07,560 --> 00:47:09,440 it supports concepts 246 00:47:09,520 --> 00:47:12,520 that the composer lends to the film 247 00:47:12,600 --> 00:47:15,200 and of course to the director. 248 00:47:40,200 --> 00:47:44,440 The actor's thoughts, what he does not say 249 00:47:44,520 --> 00:47:46,600 can be represented by music. 250 00:48:01,840 --> 00:48:05,040 The look of a motionless actor 251 00:48:06,080 --> 00:48:09,960 who felt behind him or in front of him 252 00:48:10,040 --> 00:48:12,800 something unbearable. 253 00:48:19,240 --> 00:48:24,800 It was full of suspicions, memories, terrible things 254 00:48:24,880 --> 00:48:27,280 or very simple things. 255 00:48:59,920 --> 00:49:02,520 When faced with playing 256 00:49:02,560 --> 00:49:07,320 emotional, particular, sentimental scene 257 00:49:07,400 --> 00:49:09,440 with music underneath 258 00:49:09,520 --> 00:49:13,520 have sometimes gone off the rails 259 00:49:13,600 --> 00:49:18,840 and said, "Look, we don't give a damn about direct-to-video". 260 00:49:18,920 --> 00:49:22,360 "I keep the music underneath because it helps me". 261 00:49:22,440 --> 00:49:24,560 "We'll dub this piece later". 262 00:49:27,240 --> 00:49:29,040 With music on the set 263 00:49:29,120 --> 00:49:33,240 something special and sacred happens. 264 00:49:33,320 --> 00:49:36,600 It takes greater concentration on everyone's part. 265 00:49:39,320 --> 00:49:44,120 There is a higher harmony 266 00:49:45,240 --> 00:49:49,120 that brings together in the best possible way 267 00:49:49,200 --> 00:49:51,520 the product of everyone's work. 268 00:49:51,560 --> 00:49:54,520 This is a particular scene that I turn all silent 269 00:49:54,560 --> 00:49:57,400 because it is as if seen by a protagonist 270 00:49:57,520 --> 00:49:58,640 who is only discovered 271 00:49:58,720 --> 00:50:02,080 at the end of this tracking shot. 272 00:50:02,160 --> 00:50:04,280 Sends a little less smoke. 273 00:50:04,360 --> 00:50:07,360 - A little less smoke! - Shooting. 274 00:50:08,520 --> 00:50:11,440 Clapperboard. 28-1, first take. 275 00:50:40,680 --> 00:50:46,520 Perhaps, Sergio Leone is also the last great silent filmmaker. 276 00:50:46,560 --> 00:50:48,360 He gave back 277 00:50:48,440 --> 00:50:50,800 an extraordinary strength to images. 278 00:51:10,000 --> 00:51:13,720 Sergio worked a lot on silence. 279 00:51:13,800 --> 00:51:15,720 On the silence of whom? 280 00:51:15,800 --> 00:51:18,280 Of the actors, of the characters. 281 00:51:18,360 --> 00:51:21,400 On the silence of seeing a scene. 282 00:51:21,520 --> 00:51:25,680 That silence is true, represented by music. 283 00:51:25,760 --> 00:51:28,840 The music at that moment represented itself 284 00:51:28,920 --> 00:51:33,960 in a very fundamental way for that scene 285 00:51:34,040 --> 00:51:39,040 for what had happened earlier and for what would happen later. 286 00:51:39,120 --> 00:51:45,680 Music told the past and the future of the film. 287 00:52:32,560 --> 00:52:37,760 My father had a great attention to noise. 288 00:52:37,840 --> 00:52:42,120 He found in Ennio more than fertile ground. 289 00:52:43,000 --> 00:52:44,440 Yes? 290 00:52:44,520 --> 00:52:45,920 Here, even with the tools, good. 291 00:52:48,760 --> 00:52:51,640 We used these for Robert De Niro's steps 292 00:52:51,720 --> 00:52:53,040 in "Once Upon a Time in America". 293 00:52:53,120 --> 00:52:55,560 I used to work with Renato Marinelli 294 00:52:55,640 --> 00:52:57,160 who was Sergio's foley artist. 295 00:52:57,240 --> 00:52:59,040 Everything used to be reproduced in studio. 296 00:52:59,120 --> 00:53:01,160 Today computers help us editing. 297 00:53:01,240 --> 00:53:03,360 In the past, you had to do everything in studio 298 00:53:03,440 --> 00:53:05,840 and you had to be suitable. 299 00:53:10,920 --> 00:53:17,400 Sergio Leone looked grumpy, but he was a chum after all. 300 00:53:17,520 --> 00:53:18,760 He was funny 301 00:53:18,840 --> 00:53:22,080 and he would gratify you for the job you did. 302 00:53:22,160 --> 00:53:24,440 When he enters the field 303 00:53:24,520 --> 00:53:29,600 make me the sound of a horse in the background. 304 00:53:35,760 --> 00:53:37,200 It's the same. 305 00:53:40,920 --> 00:53:46,320 Make it a little less strident, or it will disturb. 306 00:53:47,240 --> 00:53:49,800 I always met the noisemakers. 307 00:53:51,280 --> 00:53:53,800 We used to joke and say 308 00:53:53,880 --> 00:53:56,040 ''Keep the noisemakers down" 309 00:53:56,120 --> 00:53:58,120 "because the music has to come out'.' 310 00:53:58,200 --> 00:54:01,840 That was our fun, funny talk. 311 00:54:01,920 --> 00:54:04,520 Morricone was quite a character. 312 00:54:04,560 --> 00:54:07,760 When you entered the environment there was some confidence. 313 00:54:07,840 --> 00:54:09,760 There was joking around. 314 00:54:09,840 --> 00:54:12,520 Once, while he was mixing, in agreement with Sergio Leone 315 00:54:12,600 --> 00:54:14,520 Fausto changed the music. 316 00:54:14,600 --> 00:54:17,320 Sometimes, Ennio would fall asleep in the hall 317 00:54:17,400 --> 00:54:23,080 then slowly change and put on music by another musician. 318 00:54:23,160 --> 00:54:25,120 At that point, he would wake up. 319 00:54:25,200 --> 00:54:26,880 "What happened?" 320 00:54:26,960 --> 00:54:29,760 And he would reply, "Didn't you like it?" 321 00:54:32,120 --> 00:54:34,280 I met Sergio Leone 322 00:54:34,360 --> 00:54:37,840 when I made "The Good the Bad and the Ugly". 323 00:54:37,920 --> 00:54:41,120 From there until "Once Upon a Time in America" 324 00:54:41,200 --> 00:54:42,920 I mixed everything. 325 00:54:44,800 --> 00:54:47,520 Leone creates 326 00:54:47,600 --> 00:54:52,520 his expressive revolution within his field. 327 00:54:52,600 --> 00:54:54,760 The highest example is 328 00:54:54,840 --> 00:54:56,960 the beginning of "Once Upon a Time in the West". 329 00:55:01,800 --> 00:55:05,160 Those long credits that made history. 330 00:55:09,320 --> 00:55:12,600 The squeaking of the mill and everything. 331 00:55:12,680 --> 00:55:15,800 He had made the music, as beautiful as ever. 332 00:55:19,240 --> 00:55:22,600 When we went to mix, Ennio was not there. 333 00:55:22,680 --> 00:55:23,920 So, he says to me 334 00:55:25,000 --> 00:55:26,600 "Fausto, let's get this music off." 335 00:55:26,680 --> 00:55:31,600 "Sergio, are you sure?" "Let's get this music off." 336 00:55:33,720 --> 00:55:36,360 Those realistic sounds are not 337 00:55:36,440 --> 00:55:39,320 the negation of Morricone's music. 338 00:55:39,400 --> 00:55:43,080 They are the fruit of their intense collaboration. 339 00:55:44,360 --> 00:55:47,840 When we mixed, Ennio Morricone came to see. 340 00:55:47,920 --> 00:55:49,880 At the beginning, we didn't say anything to him. 341 00:55:54,600 --> 00:55:59,320 "Sergio, you made the most beautiful music ever". 342 00:56:00,360 --> 00:56:02,240 He didn't take it personally! 343 00:56:17,440 --> 00:56:22,240 For 70 years, cinema has been the art of synthesis. 344 00:56:22,320 --> 00:56:24,400 Leone showed us it was possible 345 00:56:24,480 --> 00:56:27,320 to tell the life of a man in 90 minutes 346 00:56:27,400 --> 00:56:29,640 and Leone told us 347 00:56:29,720 --> 00:56:33,800 how time can be suspended 348 00:56:33,880 --> 00:56:38,160 lengthened, transformed, multiplied 349 00:56:38,840 --> 00:56:44,120 and how cinema can also be the art of telling about waiting 350 00:56:44,200 --> 00:56:46,880 of telling that nothing is happening. 351 00:56:49,080 --> 00:56:53,160 This belonged to literature, but not to cinema. 352 00:56:55,400 --> 00:56:59,560 The one about the fly trapped in the gun was my idea. 353 00:56:59,640 --> 00:57:05,760 That's for sure, I bragged a lot about it to Sergio afterwards. 354 00:57:18,800 --> 00:57:23,240 You never feel the anguish of the editing director 355 00:57:23,320 --> 00:57:26,760 who must necessarily close one situation 356 00:57:26,840 --> 00:57:31,000 to make room for the next one. 357 00:57:31,080 --> 00:57:35,160 The story has to breathe on its own. 358 00:57:35,240 --> 00:57:41,200 You feel this and it's special, new and perfect. 359 00:57:49,640 --> 00:57:52,360 "Once Upon a Time in the West" is an arthouse film. 360 00:57:52,440 --> 00:57:57,320 I set out to tell through a parable 361 00:57:57,400 --> 00:58:00,160 as it could have been a fairy tale, or a western 362 00:58:00,240 --> 00:58:04,160 to tell the story of the birth of the American nation. 363 00:59:00,520 --> 00:59:04,760 I was very young, I was a young boy. 364 00:59:04,840 --> 00:59:08,240 For me, it was a great honor to hang out with Sergio Leone. 365 00:59:08,320 --> 00:59:15,040 Bernardo, Sergio and I wrote this treatment 366 00:59:15,120 --> 00:59:17,120 that was then the basis of the film. 367 00:59:23,720 --> 00:59:27,160 At the beginning, we used to meet at Sergio's place. 368 00:59:27,240 --> 00:59:33,600 Then, we started meeting at Bernardo's or at my place. 369 00:59:33,680 --> 00:59:37,160 This job lasted quite a lot, two or three months. 370 00:59:40,520 --> 00:59:42,520 The main character was a woman. 371 00:59:42,560 --> 00:59:46,240 He had never worked with women in his movies. 372 00:59:46,320 --> 00:59:50,560 I think it was for this reason that he took Bernardo and me 373 00:59:50,640 --> 00:59:52,560 because we were very young. 374 00:59:52,640 --> 00:59:57,240 He thought screenwriters at that time, of a certain age 375 00:59:57,320 --> 01:00:00,840 did not know about femininity. 376 01:00:19,280 --> 01:00:24,560 I did the first part and Bernardo did the second one. 377 01:00:24,640 --> 01:00:30,800 We went to a copy shop with a big pack of papers 378 01:00:32,720 --> 01:00:36,720 and this woman started writing. 379 01:00:36,800 --> 01:00:40,040 While she was writing, we stood there waiting 380 01:00:40,120 --> 01:00:42,040 because we wanted to take it away. 381 01:00:42,120 --> 01:00:44,480 He became passionate about this story. 382 01:00:47,560 --> 01:00:49,360 She loved it so much. 383 01:00:49,440 --> 01:00:52,240 Every now and then she would say, "This scene is beautiful". 384 01:00:52,320 --> 01:00:58,200 We were thrilled by this fact, it was an important moment. 385 01:01:01,680 --> 01:01:03,400 ONCE UPON A TIME IN THE WEST 386 01:02:19,520 --> 01:02:24,920 Sergio took some very famous actors at the time 387 01:02:25,000 --> 01:02:30,280 among whom excelled Henry Fonda. 388 01:02:30,360 --> 01:02:33,120 The nicest actor in Hollywood history. 389 01:02:39,400 --> 01:02:40,880 I can tell this anecdote. 390 01:02:40,960 --> 01:02:45,040 He came to Italy transformed. He was someone else. 391 01:02:45,120 --> 01:02:48,680 He had black hair, Spanish-style sideburns 392 01:02:48,760 --> 01:02:51,880 and even black contact lenses. 393 01:03:03,520 --> 01:03:06,040 I left him like he was. 394 01:03:06,120 --> 01:03:11,440 Slowly and gently, I tried to postpone his entrance. 395 01:03:11,520 --> 01:03:16,880 Day by day, I made him take off something of this masking. 396 01:03:16,960 --> 01:03:20,280 Finally, before going on stage, I said to him 397 01:03:20,360 --> 01:03:24,600 "Shouldn't you also remove these black contact lenses" 398 01:03:24,680 --> 01:03:28,280 "that make your gaze fixed, monotonous?" 399 01:03:28,360 --> 01:03:31,560 "You have wonderfully expressive eyes" 400 01:03:31,640 --> 01:03:33,560 He finally took them out. 401 01:03:46,360 --> 01:03:48,360 I put the car behind him 402 01:03:48,440 --> 01:03:51,320 and almost surprisingly doing a circular cart 403 01:03:51,400 --> 01:03:52,560 I would make discover 404 01:03:52,640 --> 01:03:54,000 that underneath this terrible murderer 405 01:03:54,080 --> 01:03:56,440 there is none other than Henry Fonda. 406 01:04:11,680 --> 01:04:15,400 As a great actor and experienced actor 407 01:04:15,520 --> 01:04:18,760 he said, "Jesus Christ, now I understand". 408 01:05:05,600 --> 01:05:09,520 He loved John Ford, Howard Hawks 409 01:05:09,600 --> 01:05:13,560 the great myths of American Western cinema. 410 01:05:13,640 --> 01:05:20,120 He felt he needed to tell their stories in another way. 411 01:06:39,200 --> 01:06:43,720 I don't fight to impose my ideas on others. 412 01:06:43,800 --> 01:06:47,200 I fight to not let others' ideas impose themselves on me. 413 01:06:47,280 --> 01:06:49,920 Entertainment should be a vehicle 414 01:06:50,000 --> 01:06:54,000 a bicycle to get to make speeches that interest us 415 01:06:54,080 --> 01:06:56,200 but without taking a position. 416 01:06:56,280 --> 01:07:00,960 Taking a position means making an advertisement 417 01:07:01,040 --> 01:07:04,240 and that's a kind of cinema I don't like. 418 01:07:12,520 --> 01:07:14,800 He didn't make easy films. 419 01:07:14,880 --> 01:07:17,800 They were very difficult and political. 420 01:07:17,880 --> 01:07:20,920 There was a lot of thought behind them 421 01:07:21,000 --> 01:07:23,560 and a lot of commitment. 422 01:07:23,640 --> 01:07:27,520 REVOLUTION IS AN ACT OF VIOLENCE 423 01:08:53,960 --> 01:08:58,360 He addresses certain issues with his own way of seeing 424 01:08:58,440 --> 01:09:03,640 that is that of a kid who remembers how to play 425 01:09:03,720 --> 01:09:05,640 but who already knows how the world of adults works. 426 01:11:37,960 --> 01:11:42,080 Late 1967, early 1968, I went to America 427 01:11:42,160 --> 01:11:45,200 in an attempt to make "Once Upon a Time in America". 428 01:11:45,280 --> 01:11:48,280 The idea had been with me for a long time. 429 01:13:52,640 --> 01:13:55,120 I am very stubborn, very tenacious. 430 01:13:55,200 --> 01:13:57,600 In fact, I make the cinema I love to make. 431 01:13:57,680 --> 01:14:02,560 I have to love a film viscerally and from the inside out. 432 01:14:37,760 --> 01:14:40,200 Why haven't you done anything for two years? 433 01:14:40,280 --> 01:14:41,680 I'm stuck. 434 01:14:41,760 --> 01:14:44,920 It's quite a story the whole audience knows it by now. 435 01:14:45,000 --> 01:14:46,760 This is for "Once Upon a Time in America"? 436 01:14:46,840 --> 01:14:48,880 Yes, it's for "Once Upon a Time in America." 437 01:14:48,960 --> 01:14:52,600 I've started the script and I can't buy the copyright. 438 01:14:52,680 --> 01:14:56,040 I hope to break the deadlock, we'll see. 439 01:15:00,680 --> 01:15:06,920 For 10 long years if not longer, this has been the focal point. 440 01:15:07,000 --> 01:15:09,440 I remember him telling us about the film 441 01:15:09,520 --> 01:15:11,080 even before he had written it. 442 01:15:14,200 --> 01:15:17,800 I think Dad read us the script at least 100 times. 443 01:15:21,040 --> 01:15:22,800 In the evening he would come back and say 444 01:15:22,880 --> 01:15:24,440 "I changed this, I did this". 445 01:15:24,520 --> 01:15:26,840 Initially the film was called "Once Upon a Time, America". 446 01:15:26,920 --> 01:15:29,360 Then, he said it was a little too pretentious. 447 01:15:50,720 --> 01:15:58,080 We experienced the joy of seeing his dream finally coming true 448 01:15:58,160 --> 01:16:02,440 when Arnon Milchan appeared in his life and in ours too. 449 01:16:18,920 --> 01:16:22,360 The story is an ideal continuation of a triptych 450 01:16:22,440 --> 01:16:29,520 and the pretext of gangsterism, of American reminiscence 451 01:16:29,560 --> 01:16:33,920 is the pretext for a European like me with my background 452 01:16:34,000 --> 01:16:38,240 to express my love for American cinema. 453 01:16:40,160 --> 01:16:42,080 The subtitle of the film could be 454 01:16:42,160 --> 01:16:44,520 "'Once upon a time, there was a certain kind of film". 455 01:17:07,160 --> 01:17:11,800 Color will be an important feature. Here are the colors. 456 01:17:11,880 --> 01:17:14,880 In my opinion, the right tones are brown and beige. 457 01:17:14,960 --> 01:17:18,120 This is the Lyric Theatre that we do exactly the same. 458 01:17:18,200 --> 01:17:23,760 "Once Upon a Time in America" is my father's way of thinking big. 459 01:17:23,840 --> 01:17:27,200 I want this aerial orchestra. 460 01:17:27,280 --> 01:17:31,120 It seems like something out of a storybook. 461 01:17:31,200 --> 01:17:38,520 For its melancholy for the past. 462 01:19:35,160 --> 01:19:39,960 During the first scene he shot, we were all tense 463 01:19:40,040 --> 01:19:41,960 because it was so many years… 464 01:19:42,040 --> 01:19:45,760 For me it was like watching him shoot for the first time. 465 01:19:48,200 --> 01:19:50,520 Dad was very excited. 466 01:19:51,560 --> 01:19:57,200 He could finally start his big dream. 467 01:25:06,840 --> 01:25:08,840 Cut! 468 01:28:40,720 --> 01:28:45,840 He never sought applause or sympathetic film criticism. 469 01:28:45,920 --> 01:28:47,960 It arrived with "Once upon a time in America". 470 01:28:48,040 --> 01:28:51,360 He was very surprised 471 01:28:51,440 --> 01:28:57,520 by the clamor the film received at Cannes Film Festival. 472 01:28:58,000 --> 01:28:59,320 His surprise 473 01:28:59,400 --> 01:29:03,080 when the 20 minutes of applause in the hall went on forever. 474 01:29:04,360 --> 01:29:06,280 I remember the look in his eyes 475 01:29:06,360 --> 01:29:09,120 which in front of others went unnoticed 476 01:29:09,200 --> 01:29:14,520 but it was incredibly emotional for me. 477 01:29:17,080 --> 01:29:21,680 Then, the next day's criticism made him happy. 478 01:29:23,640 --> 01:29:26,760 As usual, as he would have done in one of his films 479 01:29:26,840 --> 01:29:28,920 it didn't end so well. 480 01:30:12,200 --> 01:30:14,120 This is what worries me the most 481 01:30:14,200 --> 01:30:17,120 to get to cut it to two hours and three quarters 482 01:30:17,200 --> 01:30:20,920 they're forced to do a new edit, so it is no longer my film. 483 01:30:57,720 --> 01:31:01,160 It was a big deal for him. 484 01:31:01,240 --> 01:31:03,160 If I had been him 485 01:31:03,240 --> 01:31:06,040 I would have been curious to see the havoc 486 01:31:06,120 --> 01:31:08,040 that had been wrecked. 487 01:31:08,120 --> 01:31:13,680 He never wanted to see it. That was his creature. 488 01:31:52,320 --> 01:31:53,560 I remember we went to Leningrad 489 01:31:53,640 --> 01:31:56,520 where he narrated the whole film. 490 01:31:56,600 --> 01:31:58,840 There was a page written in Leningrad 491 01:31:58,920 --> 01:32:00,320 he had the whole film in his head. 492 01:32:37,600 --> 01:32:39,960 He thought of De Niro. 493 01:32:40,040 --> 01:32:42,320 Among his collaborators there was Tonino Delli Colli 494 01:32:42,400 --> 01:32:45,840 who stammered back to him 495 01:32:45,920 --> 01:32:49,960 "You know we're going to die in Russia, right?" 496 01:32:53,200 --> 01:32:55,800 "-40 degrees, it's going to be freezing cold" 497 01:32:55,880 --> 01:32:57,640 "you're sick, in the trenches." 498 01:32:57,720 --> 01:33:01,280 "Can't we do a good detective story set in Paris?" 499 01:33:01,360 --> 01:33:04,680 "Can't we do it in the theater? We're old people." 500 01:33:09,000 --> 01:33:12,200 He always told me he wanted to make this film. 501 01:33:12,280 --> 01:33:14,960 I would occasionally ask him 502 01:33:16,680 --> 01:33:19,440 "If you have the script ready, let me read it". 503 01:33:19,520 --> 01:33:21,360 He used to tell me: "I haven't done it'. 504 01:33:21,440 --> 01:33:23,160 He always told me this. 505 01:33:23,240 --> 01:33:27,160 He knew he couldn't do it. 506 01:33:28,920 --> 01:33:32,000 SILENCE 507 01:35:30,400 --> 01:35:32,560 It is like going to an art gallery 508 01:35:32,640 --> 01:35:38,280 to see paintings of a revolutionary artist. 509 01:35:38,360 --> 01:35:40,520 You are enchanted. 510 01:36:20,240 --> 01:36:26,520 It has been 38 years since the first time I came to Italy 511 01:36:26,600 --> 01:36:34,120 as a young actor for an equally young director, Sergio Leone. 512 01:36:34,200 --> 01:36:39,080 That event was a positive turning point 513 01:36:39,160 --> 01:36:42,720 for both our careers. 514 01:36:42,800 --> 01:36:45,720 Thank you very much, Sergio. 515 01:36:46,640 --> 01:36:48,240 A lion for Leone. 516 01:37:16,280 --> 01:37:18,720 The director is missing, but not only me, 517 01:37:18,800 --> 01:37:20,120 the whole world. 518 01:37:20,200 --> 01:37:24,040 I miss a person who was looking for the best in me 519 01:37:24,120 --> 01:37:26,200 knowing that I could give it. 520 01:37:29,560 --> 01:37:32,800 If you had Sergio here, what would you say to him? 521 01:37:32,880 --> 01:37:35,160 Me personally: "How much I missed you." 522 01:37:35,800 --> 01:37:36,840 That's all. 523 01:37:40,120 --> 01:37:42,120 Come back. 524 01:37:42,960 --> 01:37:45,600 I'd like to say thank you to him. 525 01:37:45,680 --> 01:37:47,680 Wait, I'll be fine. 526 01:37:50,080 --> 01:37:52,080 What is it? Thirty-five years?